which generally contains something of publick
Use; give us leave to say, that favouring our Design is no less than
reviving an Art, which runs to ruin by the utmost Barbarism under an
Affectation of Knowledge. We aim at establishing some settled Notion
of what is Musick, as recovering from Neglect and Want very many
Families who depend upon it, at making all Foreigners who pretend to
succeed in _England_ to learn the Language of it as we our selves have
done, and not be so insolent as to expect a whole Nation, a refined
and learned Nation, should submit to learn them. In a word, Mr.
SPECTATOR, with all Deference and Humility, we hope to behave
ourselves in this Undertaking in such a Manner, that all _English_ Men
who have any Skill in Musick may be furthered in it for their Profit
or Diversion by what new Things we shall produce; never pretending to
surpass others, or asserting that any Thing which is a Science is not
attainable by all Men of all Nations who have proper Genius for it: We
say, Sir, what we hope for is not expected will arrive to us by
contemning others, but through the utmost Diligence recommending
ourselves.
_We are, SIR,
Your most humble Servants_,
Thomas Clayton,
Nicolino Haym,
Charles Dieupart.

[Footnote 1: Christopher Rich, of whom Steele wrote in No. 12 of the
_Tatler_ as Divito, who

has a perfect art in being unintelligible in discourse and
uncomeatable in business. But he, having no understanding in his
polite way, brought in upon us, to get in his money, ladder-dancers,
rope-dancers, jugglers, and mountebanks, to strut in the place of
Shakespeare's heroes and Jonson's humorists.]

[Footnote 2: Thomas Clayton (see note on p. 72) had set Dryden's
_Alexanders Feast_ to music at the request of Steele and John Hughes;
but its performance at his house in York Buildings was a failure.
Clayton had adapted English words to Italian airs in the drama written
for him by Motteux, of _Arsinoe, Queen of Cyprus_, and called it his own
opera. Steele and Addison were taken by his desire to nationalize the
opera, and put native music to words that were English and had
literature in them. After _Camilla_ at Drury Lane, produced under the
superintendence of Nicolino Haym, Addison's _Rosamond_ was produced,
with music by Clayton and Mrs. Tofts in the part of Queen Eleanor. The
music killed the piece on the third night of performance. The coming of